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Martin Kippenberger was a German artist known for his extremely prolific output in a wide range of styles and media, superfiction as well as his provocative, jocular and hard-drinking public persona.
Kippenberger was "widely regarded as one of the most talented German artists of his generation," according to Roberta Smith of the New York Times. He was at the center of a generation of German enfants terribles including Albert Oehlen, Markus Oehlen, Werner Büttner, Georg Herold, Dieter Göls, and Günther Förg.
Ludwig Michael Schwanthaler, ennobled as Ritter von Schwanthaler, was a Bavarian sculptor and a key figure in the Classical movement in southern Germany. He was born on 26 August 1802 in Munich to a family that had been involved in sculpture for centuries.
Schwanthaler's journey began under his father's tutelage before he formally trained at the Munich Academy. His talent was so profound that he received commissions from royalty and mentorship from the likes of Peter von Cornelius. He further honed his skills in Rome, where he was influenced by Bertel Thorvaldsen. Returning to Munich, Schwanthaler met the demands for sculpture head-on, collaborating with architects and painters to revive the arts in Bavaria.
Among his many works, the statues in the Neues Palais and the figures in the Alte Pinakothek are notable. His versatility also shone in sacred art, with his contributions to St Ludwig and St Mariahilf churches. The Ruhmeshalle's metopes and the monumental Bavaria statue demonstrate his artistic bravery. Schwanthaler's life was dedicated to his craft, and upon his death on November 14, 1848, he bequeathed his models and studies to the Munich Academy, forming the Schwanthaler Museum.
For art enthusiasts, Schwanthaler's legacy offers a deep dive into classical sculpture's golden age. His works remain a testament to the neoclassical aesthetic and are celebrated for their historical and artistic significance.
Engage with the grandeur of Schwanthaler's art by signing up for updates, and take part in preserving the memory of one of Bavaria's master sculptors.
Georg Kolbe was a German sculptor of the first half of the twentieth century. He is known as a master of Classicism and Symbolism. Throughout most of his professional career he was an artist in demand by various German authorities.
Georg Kolbe, despite the strong influence of the Expressionists, managed to develop his own unique style. He left a notable mark not only in sculpture, his artistic legacy includes a large number of drawings and hundreds of engravings.
His biography is closely connected with Berlin, where he lived for more than 40 years. Kolbe is named for the prize awarded by the Artists' Union of Berlin. The artist's former studio now houses a museum with permanent solo exhibitions of works by renowned sculptors of modern art.
Heimo Zobernig is an Austrian artist who works in a variety of media from painting and sculpture to site specific installation and design.
Wilhelm Heinrich Otto Dix was a German artist whose work stands as a stark, unyielding reflection of the societal tumult and trauma of the early 20th century. Born in 1891 in Untermhaus, Germany, Dix's early life was steeped in the arts, his ambition to become an artist nurtured by both familial influence and formal education in Dresden. His experiences as a soldier in World War I deeply influenced his artistic direction, leading him to vividly depict the horrors of war and the decay of the Weimar Republic with a brutal realism that became his signature style.
Dix's association with the Dada movement and the New Objectivity (Neue Sachlichkeit) further honed his critical, often cynical portrayal of post-war society. His works, such as "The Trench" and "War Cripples," expose the visceral aftermath of conflict, while his engagement with the Dadaists imbued his art with a disruptive, confrontational energy against societal norms and the art establishment.
Perhaps most notable is Dix's ability to capture the psychological depth and societal critiques through his portraits and landscapes, which ranged from the grotesque to the surreal. Paintings like "Portrait of the Journalist Sylvia von Harden" and the triptychs "Metropolis" and "War" are emblematic of his keen observation and stark depiction of the era's social and political unrest.
Despite facing significant adversity, including being labeled a degenerate artist by the Nazi regime and facing professional and personal setbacks, Dix's legacy as a painter and printmaker endures. His works are not only historical documents but also profound reflections on humanity, war, and society, resonating with collectors and art experts alike.
For enthusiasts of culture, art, and history, Dix's oeuvre offers an unflinching look into the human condition under the strain of societal and political upheaval. His contributions to painting and printmaking continue to be celebrated in museums and galleries worldwide, underscoring the enduring relevance of his work.
For those interested in exploring the profound depth and historical significance of Otto Dix's work, signing up for updates on new product sales and auction events related to his art can provide invaluable insights. This subscription is a gateway to staying informed about opportunities to engage with the tangible pieces of Dix's enduring legacy.
Wolf Vostell was a German artist who is considered a pioneer of video and installation art, and a key figure in the Fluxus movement. He studied at the Academy of Fine Arts in Wuppertal and later at the École Nationale Supérieure des Beaux-Arts in Paris.
Vostell's art was heavily influenced by the horrors of World War II, and he often incorporated themes of violence and destruction in his work. He was interested in exploring the relationship between art and technology, and he experimented with new media such as television, video, and sound.
One of Vostell's most famous works is "Concrete Traffic," a 1970 installation in which he placed a Cadillac in a block of concrete. The piece was intended to comment on the impact of automobile culture on society and the environment.
Another notable work is "TV-Burying," a performance piece in which Vostell buried a television set in the ground, with only the screen visible. The work was a commentary on the pervasive influence of television on modern life.
Vostell's work has been exhibited extensively around the world, including at the Museum of Modern Art in New York, the Venice Biennale, and the Centre Georges Pompidou in Paris.